Donizetti: Una furtiva lagrima (from L'elisir d'amore)

““Villazón's singing offers a combination of intelligence and glamour not seen since the ascendancy of Domingo” The New Yorker

“The famous nine Cs, as Tonio sings Qual destino, are reached early on, each scaled without peril. There are twinges of slight vocal strain elsewhere. Even so the CD remains, as the title says, a Bel Canto Spectacular, with the trademark Flórez blaze of a voice burning up seven Donizetti opera scenes, two Rossini and one Bellini. It’s a wonderful technical display. But like direct exposure to the sun, a voice of this intensity needs to be rationed. How wise of Flórez and his managers, therefore, to match his blowtorch with the gentler timbres of other singers: Anna Netrebko...Patrizia Ciofi...Danielo Barcellona...[and] Placido Domingo.” The Times, 20th June 2008 ****

“Florez’s singing, at least, justifies Decca’s “Bel Canto Spectacular” trumpeting. Netrebko is a bit blowsy, Barcellona goes flat on her final note and Domingo, understandably, drops an octave lower than his younger colleague at the climax of their duet. Florez is fabulous in Tonio’s show stopper from the Italian version of Donizetti’s Daughter of the Regiment, with nine top Cs. There may be more honeyed accounts of Una furtiva lagrima on disc, but his bright tone, superb diction and style are winning enough.” Sunday Times, 20th July 2008 ****

“The world's most sought-after "tenore di grazia" bounds in with his trademark pizzazz in his party-piece aria from Donizetti's La figlia del reggimento, capped by volleys of exuberantly pinging top Cs. We get another Flórez calling-card in a sweetly voiced "Una furtiva lagrima". Elsewhere this recital, true to its billing, becomes a bel canto celebration for Flórez and friends.” The Telegraph, 12th July 2008

“…the tenor's impeccable artistry, founded on the strongest of techniques plus - vitally - the keenest of expressive intentions, is in flamboyant evidence throughout.” BBC Music Magazine, August 2008 ****

“The opening track here is presumably Juan Diego Flórez's final word on the show-stopping aria from La fille du régiment. The rest of this attractive canter through the bel canto repertory finds our hero in robust form. This is very much a case of "Flórez and friends". Anna Netrebko contributes a touching Elvira to the great last-act duet from I Puritani, a very full version culminates in those stratospheric phrases taking the tenor up to the high D. Is there any more catchy Donizetti tune than the duet, "Da quel dì che t'incontra"? Flórez and Patricia Ciofi are not undermined by comparison with Sutherland and Pavarotti... The two extracts from L'elisir d'amore are both winning, with Mariusz Kwiecien as an exceptionally vivid Belcore.” Gramophone Magazine, 2008 Awards Issue

“One of the most versatile tenors of the 20th century, Nicolai Gedda demonstrates his excellence in French, Russian, German and Italian operas, plus Viennese operetta, all delivered with immaculate style.” BBC Music Magazine, February 2009 *****

“The voice has body, especially in the upper middle register, and an exciting ring on top.” Gramophone Magazine, 2008 Awards Issue

“ … yet its chief glories are musical, not least the sterling performance of the young Polish tenor Piotr Beczala as Riccardo, which has Berliners drawing comparisons to Jussi Björling. He is certainly the best in this challenging role since Pavarotti” International Herald Tribune

“Operatic galas on disc can show the participants on careless form. No sign of that here, with an opening 'Flower Duet' from Lakmé whose essential intimacy is conveyed in a nicely blended performance from Anna Netrebko and Elina Garanca. Netrebko's solo item, 'Casta diva' from Norma... technically impressive, and done with feeling. Giving the best overall impression is Ramón Vargas with his melting 'Una furtiva lagrima', though again the Luisa Miller aria is one size too big for his lyric tenor.” BBC Music Magazine, April 2008 ****

“…Ramón Vargas… just about stole the show. He begins with a most delicately phrased "Una furtiva lagrima" with some melting pianissimi in the final bars, including a classic messa di voce on the final "morire" that would have pleased even Manuel García. At the opposite end of the spectrum he declaims a fervent, dramatic "Quando le sere" from Luisa Miller and joins Anna Netrebko in a heartfelt "O soave fanciulla", and then a rollicking contribution to the Rigoletto quartet with Ludovic Tézier as the jester. Netrebko's other contributions are "Casta diva"... and the Lakmé Flower Duet, in which her voice blends so beautifully with that of Garanca that I wonder if this isn't another dream duo.” Gramophone Magazine, December 2007